Holy hiatus, Batman!

Long time no post, dear readers, and I'm afraid that's not changing any time soon. Life is always getting in the way, and until I can kick my chronic overcommitment tendencies, this blog is on indefinite hiatus. 

Having said that, if anyone wants to get in touch with an idea for a post or an interview, or simply wants to tell me how much they miss my posts (!!), I can be reached via the email in my profile.

Hopefully, I'll be back in Holy go-go boots land soon... Thanks for reading and stay groovy! 

For the cool trendy blokes

While I've showcased plenty of groovy 60s chicks in this blog, I'm the first to admit that I haven't given the same kind of coverage to Melbourne's stylin' blokes of the era. But stumbling upon this priceless article from a 1968 issue of Go-Set, I figured it was high time to redress this imbalance. 

But first, a few highlights from the article, which boasts 'easy fashion ideas for the swinging blokes in the GO SET'. These ideas are based around a simple suit pattern, and the author encourages any interested chaps to con their sister, mum or girlfriend into making one or more for them.

Calico and satin are suggested as ideal fabrics, and the writer advises extra-wide legs on the trousers so 'they flap around and keep your legs cool. Of course, no socks, just sandals!' 

But the real genius moment is saved for last: adapting the shirt for the beach.

'For the beach, the same shirt; shorter, and minus sleeves. A huge pocket for fags, glasses, bottle opener and all the other things that blokes carry. This is much zappier than a T-shirt, and to be really smart, get some enterprising bird to make you a matching hat.' By Jove, I believe that's the first time I've ever come across the words 'fags', 'zappier' and 'enterprising bird' in the same paragraph!

Alternatively, a go-getting go-setting guy could always have pinched a few ideas from the following local style stars:

Melbourne's real 'cool trendy blokes' (in no particular order)

1) One of my top local fashion faves has got to be Doug Ford. I was originally dazzled by Doug when I saw him with an ad hoc incarnation of the Masters Apprentices back in 2004 - with his pointy wizard's hat, chunky pendant and long scraggly hair, he came across like some kind of defiant single-fingered salute to ageing boringly. So great. (More about that memorable gig here). 

Doug demonstrating how to do sideburns (right)

In his 60s hey day (and before the 70s got their boganoid clutches into him), Doug had the best hair, coolest sideburns and a personal style that was flamboyant without being quite as foppish as his more extroverted bandmate, Jim Keays. And all set off by that cheeky baby face. What's not to love?

Gangster chic at Catcher. Lobby Loyde looks uncharacteristically stylish too!

2) Wit and a sharp intellect will never go out of style, and Barry Humphries is living proof. Just look at him in this photo, taken in Melbourne in 1969, lounging against the lamp post like a model, rocking a killer combo of polka-dot neckerchief, raffishly tilted hat and Philip Marlowesque trench coat. Add to this his casually dangling ciggy and eyes full of knowing amusement, and we've got the embodiment of bohemian cool.

Meanwhile, his alter-ego Dame Edna remains a fashion icon to this day, with her mauve rinse and maximalist approach to all things sparkly. But check her out below, in this rare 60s go-go ensemble! I have no idea what the context is, but it's fab (albeit just a tad bizarre)!

I could do with a pair of boots like that...

3) And speaking of Humphries, I grew up believing that The Loved Ones' Gerry Humphrys was Barry's brother! It was only recently that I discovered it was Gerry himself who spread that rumour. But while there may not be a family connection, both men do share a certain je ne sais quoi... 

Gerry gives a masterclass in style

Calico and satin may be the fabrics of choice for Go-Set's fashion writer, but personally, I think velvet is a groovier choice. While we'll never know what colour the suit was that Gerry's wearing in the photo above, it's pretty obvious he wore it well, teamed with a silky shirt and psychedelic tie. I also think we're safe in assuming his ensemble probably tended towards the brighter end of the spectrum rather than sticking to 'tasteful' standards, especially if the photo below is any indication...

I love how we see the photographer's shadow too.

Wowsers, this is some back-yard happy snap! Candy-cane stripes on top of humbug stripes -- not everyone could pull that combo off, particularly with bare feet into the bargain. Needless to say, Gerry does, looking for all the world like Lord Byron's 60s lovechild. 

4) And here we have Melbourne-born character actor, Frank Thring! Possibly best known for his scene-stealing swords-and-sandals turn as Pontius Pilate in Ben Hur (and unforgettable as creepy Superintendent Cobham in Mad Dog Morgan), Frank turns up the sartorial splendour in this amazing photo. I don't know what I love more: the uber-cool shades, the white polo-neck, the dramatically upturned collar, the villainous moustache...or his theatrical pose. Timeless style.

Frank was no ham

Frank also had a recurring role on iconic 60s Aussie kids' show, Skippy, as the evil Dr Stark. To quote The Standells, "Sometimes good guys don't wear white"...and sometimes bad guys do. Once again, Frank is looking effortlessly sharp in his pristine suit and hat -- but what absolutely nails his look here is that baby koala he's cradling. Just perfect.

Let's face it, koalas improve any photo

5) Tall, blond and magnificently mod, The Purple Hearts' Mick Hadley must've cut a striking figure onstage back in the day -- even before he opened his mouth and that incredible voice came belting out. His striped jeans are less technicoloured than Gerry Humphrys' and more Pop; in fact, he's looking pretty Biff-Bang-Pow all round in the photo below. Some of today's frontmen could learn a thing or two from slick Mick.

Mick Hadley in full flight

Anyone else detect a street-fighting young Roger Daltrey vibe in the below pic? With his sullen expression, close-cropped hair and obligatory red, white and blue sweater, Mick looks ready to nut a greaser with that pick-axe (or whatever it is) he's holding. Lobby Loyde, on the other hand, resembles an amiable teddy bear clutching his tyre iron (or whatever that thing is) he's holding. (And no, tools are not my forte.)

Who gets your vote for Melbourne's sharpest-dressed 60s bloke? Obviously, they can be transplants from other cities -- just as long as there's a Melbourne connection. 

Related posts

Mystery girl: Jan Stewart

Melbourne song of the month: Chicago/Purple Hearts

Melbourne song of the month: The Loved One/The Loved Ones

Melbourne song of the month: 5:10 Man/The Masters Apprentices

Groovy guru: the photography of Henry Talbot

When you think about some of Australia’s biggest (and best) bands of the 60s --The Easybeats, Masters Apprentices, Purple Hearts et al – it’s impossible not to be struck by what a great contribution European and British migrants have made to this country’s rock’n’roll tradition.

The same can be said of our photography, with European-born luminaries like Bruno Benini, Wolfgang Sievers, Mark Strizic and Helmut Newton all having a profound impact on the national photographic scene during the 50s and 60s.

Henry Talbot

Henry Talbot (formerly known as Heinz Tichauer) was another one. Fleeing his natal Germany in 1939 to escape the Nazis, he ended up in England — interned as a suspected German agent! Along with thousands of other German and Italian detainees (some of whom were prisoners of war; many more of whom were Jewish refugees like Talbot), he was deported to Australia in 1940 aboard the notorious hell-ship, Dunera.

After spending a couple of years interned in Hay, NSW, Talbot volunteered for the Australian Army, where he became friends with fellow German refugee Helmut Newton. 

Both Talbot and Newton ended up in Melbourne, having established independent post-war careers as photographers. They went into partnership in 1956, specialising in fashion and advertising: needless to say, the Newton & Talbot Studio became one of Melbourne’s most successful. 

Work it, baby!

Photo: Henry Talbot, 1967 (copyright, Lynette Anne Talbot)

Groovy OR WHAT?! Sure, Melbourne was hip in the 1960s (or this blog wouldn’t exist) but this photo, part of an ad for New York fashion label Brooks Brothers, takes it to a whole new level. That sports car looks like it’s been snatched from the set of some trippy late-60s Italian spy flick, while the slinky chick in the background could be Emma Peel’s — or Modesty Blaise’s — stunt double. The guy’s pretty sharp too.

Brooks Brothers were eager to cash in on the burgeoning Aussie youth market — and Henry Talbot was just the man to help them, with his unerring eye for the aesthetics and vibe of the times. The fabtastic stunner below is part of the same series. David Bailey, eat yer heart out!

Photo: Henry Talbot, 1967 (copyright, Lynette Anne Talbot)

In 1959, the Newton and Talbot studio scored a lucrative contract with the Australian Wool Board, and moved their studio into the basement of the Board’s office in Bourke Street. Concerned about the rising popularity of synthetic fabrics, the AWB was relying on Talbot and Newton to give it the cred it needed to remain competitive in a market that was becoming ever more youth-focused. 

This gorgeous promo photo, taken by Talbot for them in 1964, certainly delivers the goods.

Photo: Henry Talbot, 1964 (copyright, Lynette Anne Talbot)

When Newton departed for London on a self-declared mission to become the world’s greatest photographer some time around 1960, Talbot carried on alone, racking up an impressive folio of work for a who’s who of big-name clients such as Vogue, Vanity Fair, Sportscraft, General Motors and Holeproof Hosiery (below). 

Photo: Henry Talbot, 1962 (copyright, Lynette Anne Talbot)

Dating from 1962, this glamorous tableau was shot on location at the long-since closed Walnut Tree restaurant in William Street, Melbourne. It’s especially noteworthy for the male model standing in the background – none other than Bruno Benini before he became a fashion photographer himself! (Anyone else think the dark-haired bloke at the front looks like Don Draper’s cosmic twin?)

Photo: Henry Talbot, 1965 (image found on http://www.joseflebovicgallery.com/)

A vintage print of this candid and evocative photo appears to be for sale on the Josef Lebovic Gallery website, with the following accreditation:

Helmut Newton...and Henry Talbot. [Behind the Scenes at a Fashion Parade], c1965…Studio stamp reads "Helmut Newton & Henry Talbot Pty Ltd. Latrobe Court, 165 Latrobe St. [Melbourne]. [Ph] 662 2199, 662 2208. No. 506/35 Pos. 186." 

I’m guessing it’s a Talbot: by 1965, Newton was long gone, pursuing world domination on the other side of the world.

Here’s one final jaw-dropping example of Talbot’s work, taken for Fibremakers Australia. I mean, wowsers! Not only does this photo of Jackie Holme (Billy Thorpe's ex) grooving against the Parkes telescope tap into the decade’s obsession with all things space-age, it also captures its sense of freedom, fun and female fabulosity. They don’t make fashion photography like this any more…

Photo: Henry Talbot, 1964/5; National Gallery of Australia; NGA 89.1436

Given his eye-catching style, it’s no surprise to learn that Henry Talbot won a raft of prestigious awards during the 50s and 60s, the Australian Photo News’s Fashion Photographer of the Year (1958) and a Distinctive Merit Award from the Art Directors Club of Melbourne (1968) among them. 

He went on to Head of the Photography Department at the School of Art and Design at Preston, (later the Phillip Institute of Technology), from 1973 to 1985, after which he moved to Sydney with his family. He died of cancer in 1999, aged 79.

UPDATE
There is currently an exhibition dedicated to Henry Talbot's photography at the Ian Potter Centre in Federation Square, which is well worth a visit. You can see the special e-book the gallery has prepared to mark the occasion here.

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Bruno Benini

Then and now

Groovy Prue

Everyday Melbourne in the 1960s

Big news in Batmania! I have an article about The Mystrys — a sensational but short-lived band previously profiled in this blog — in the forthcoming issue of legendary British magazine, Shindig! I’ll be ppublishing a couple more blog posts about the group to mark the occasion, based on interviews I did with a couple of the key players, but while they’re taking shape, I wanted to share this interesting photo-essay about ‘everyday life in Melbourne in the Swinging Sixties’ that I found on The Herald Sun website.

Naturally, the usual suspects are present — The Beatles, The Stones, Normie Rowe, Jean Shrimpton at the Melbourne Cup. But there’s also Graham Kennedy, a haunting shot of Ronald Ryan and two photos of the footballer that even folks who couldn’t give two flying whatevers about AFL can’t help liking... Ron Barassi. 

Don't knock the Ron: Barassi, Hawaiian style. Photo: Herald Sun

Whether he’s helping women in distress, pulling folks from flaming cars, bowling in Melbourne’s first ten-pin bowling alley, posing with Hawaiian beauties or (so I hear) kicking a footy, Ron Barassi is The Man.

New Australians

A couple of pics of European migrants arriving in Melbourne provide a stark contrast to the current immigration situation. As the exuberant scene below illustrates, approaching Aussie shores by boat 50 years ago was a joyous rather than fraught experience. And not a border control official in sight..

Migrants on the Flavia arriving at Station Pier in 1964. Photo: Herald Sun

Hitting the streets

Unsurprisingly, the street scenes included in the photo essay are wonderful, not least for the drool-worthy cars upping the aesthetic ante. Bourke, Flinders and Spencer Streets all look distinctly more glamorous than they do these days, but this one of Sydney Road is pick of the bunch. Did someone say Holden heaven?

Sydney Road (1964)  looking somewhat less chaotic than it does today. Photo: Herald Sun

Meanwhile, a selection of suburban shots evoke a palpable sense of nostalgia for simpler times. Check out this back-street billy cart race: can you imagine that happening in this era of helicopter parents and PlayStation? 

Full tilt! Billy cart kids in action, 1962. Photo: Herald Sun

Hello, ladies!

But pièce de resistance is this stylin’ line-up of likely lads taken from a spread in the newspaper’s fashion pages in 1967 (is that John Steed on the left?). While I’ve featured plenty of women’s fashion in this blog, local male fashion snaps from the decade are a rare treat. 

Five alive: men's fashion in Melbourne, 1967. Photo: Herald Sun

Factor in several photos of children, the Royal Show and the Queen, and one can't help thinking that the 1960s portrayed by The Herald Sun isn't so much swinging as downright sweet... 

All these pics and more can be seen here: Photo essay: Take a look back at everyday life in Melbourne in the Swinging Sixties

Then and now: Fashion Street

So much for that saying, ‘The more things change, the more they stay the same.’ 
Looking at the photos below, I’d say that while things have changed a lot, very little (besides the location) has stayed the same.

Check out 262-270 Collins Street as it looked in 1969, when Angus O’Callaghan took this photo and called it ‘Fashion Street’.

'Fashion Street'. Photo by Angus O'Callaghan.
I love how his photos are often cropped square. He'd be a hit on Instagram.

Now check out how it looked the other week when I took a photo during my lunch break and called it ‘Non-descript city scene’… Not a groovy old car or chic pill-box hat in sight.

'Non-descript city scene'. Photo by Yours Truly. 

The glory days

A 12-story modernist gem, the Hotel Australia opened in 1939. Beneath nine floors of lavishly appointed bedrooms, there were three levels of public space, including the Venetian Court Ballroom, the Main Dining Room, several bars, restaurants and even two basement cinemas.

Hotel Australia dining room. Photo: Wolfgang Sievers, 1969. Courtesy NLA (nla.pic-vn3309841)

The hotel was a hit with Melbourne society from the get-go. The Packer family kept a suite there for 25 years; Robert Menzies dined there so often they named an omelette after him; and Harold and Zara Holt held their wedding reception there (as did my colleague Norm, who’s featured in this blog before).

Attached to the hotel was a shopping arcade which led through to Little Collins Street. Thousands of pedestrians passed through on a daily basis; many of them commuters who’d stop at one of the hotel’s bars for an after-work bevvy on their way home.

One of the hotel bars. Photo: Wolfgang Sievers, 1969. Courtesy NLA (nla.pic-vn3309872)

Yet rather like another well-known Melbourne grand-dame, Dame Edna Everage, the Hotel Australia’s glitz’n’glam was shot through with a distinctly risqué vibe. Almost from the day it opened, the hotel was popular with the city’s gay population, and during World War II, it was the hang-out for frisky servicemen on the prowl. The cocktail bar and one of the basement theatrettes were acknowledged pick-up joints. 

According to one website I came across, the hotel was even offering a call-girl service by the 1960s. Camp romance and girls for hire: that’s what I call covering all bases! 

Centreway Arcade on the other side of the street: Photo by Wolfgang Sievers, 1967
Courtesy NLA (nla.pic-vn3314126)

Sadly, when the famous Southern Cross Hotel opened in 1962, it stole much of Hotel Australia’s thunder, soon becoming the new in-crowd favourite. Neither hotel survived into this century. The Hotel Australia was demolished in 1989 (ten years before the Southern Cross) to make way for the shiny new Australia on Collins shopping arcade. 

Now Australia on Collins has been demolished to make way for ‘luxury shopping precinct’ St Collins Lane. The more things change, the more they stay the same? Hmmm. Maybe there is something in that after all...

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Then and now: time-warping in Port Phillip Arcade

I’d never been in Port Phillip Arcade until a couple of weekends ago — it just hadn’t registered in my consciousness, despite its Flinders Street frontage and intriguing metal King Neptune sculpture above the entrance. Compared to some of this city’s better known, grander arcades (Block Arcade, for example) Port Phillip Arcade isn’t what you’d call a head-turner.

In fact, with the exception of Neptune, it’s rather drab.

 
Still, there’s something defiantly no-frills and untrendy about it, which in this faddish age is kinda sweet, I guess. Home to cheap’n’cheerful Asian eateries, a cake-decorating emporium, an enormous stamp shop that’s apparently been there since the year dot, an engraver and a café, Port Phillip Arcade is nothing if not utilitarian.

But let’s face it: it’s seen better days…

Photo: Wolfgang Sievers, 1969 (National Library of Australia)

Photo: Wolfgang Sievers, 1969 (State Library of Victoria)

Photo: Wolfgang Sievers, 1969 (National Library of Victoria)

These gorgeous photos by Wolfgang Sievers show the arcade looking shiny and modern, with its American coffee shop and its ‘cake bar’ (anyone know what a hamburger puff is?).

Photo: Wolfgang Sievers, 1969 (State Library of Victoria)

I’m guessing Lillian Lingerie (below) catered more to the budget-minded shopper than the babelicious if the window display is anything to go by. 

Check out the painting above the doorway of the store next to Lillian's! Photo: Wolfgang Sievers, 1969 (State Library of Victoria).

For those whose historical interests extend to ye olde colonial times, here’s an interesting fact: Port Phillip Arcade stands on the site of the former Port Phillip Club Hotel, a venerable old building dating from 1838. But who should come along to demolish it in 1960? None other than the notorious Whelan the Wrecker — a name synonymous with the loss of much of Melbourne’s pre-modern architectural heritage… 

Photo: Wolfgang Sievers, 1969 (State Library of Victoria)

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Mystery girl: Jan Stewart

In this day and age of digital footprints and full-disclosure Facebooking, there’s little that a good Google search won’t reveal. However, as I discovered today, the worldwide web falls intriguingly short when it comes to 1960s fashion model Jan Stewart.

Jan glamming it up in some swinging ski gear. Photo: Janice Wakely

As far as I know, Jan was from Melbourne, and worked with local photographers such as Bruno Benini (profiled in an earlier blog post) and Maggie Diaz.

Reclining Jan. Photo: Maggie Diaz

With her Audrey Hepburnesque features and natural grace, she was every bit as divine as my favourite 60s model Jean Shrimpton — but clearly didn’t hit the same heights of fame, because I simply can’t find anything about her online except a few photos and an interview snippet where she recalls the staging of this fabulous shot in a Little Collins Street building site for Sportsgirl:

Frock with a view. Photo: Bruno Benini

So, unless anyone out there can tell me more about this beautiful mystery babe, we’ll just have to be content to swoon over her… Besides, as they say, a picture’s worth a thousand words.

Jan doing Jean! How Shrimpton is this? I have a postcard of this pic somewhere, from that 2011 Como House exhibition, Mannequin. Wish I could find it so I could give the photographer due credit...

Yogi Jan. Photographer also unknown.

A pop cultural time capsule: Approximately Panther

“What was the Charleston if not a Victorian go-go?” (Douglas L. Panther)

Where is Douglas L. Panther now? In 1966, he was a writer (or self-proclaimed ‘drunken reporter’) for Go-Set magazine, starring in the fabulous teen documentary Approximately Panther and pontificating on the daily lives of Melbourne’s groovy youth.

But then, much like a one-hit wonder or a one-night stand, he dropped off the radar. At least, as far as I can tell. A fairly extensive Google search reveals a big fat nada in terms of his current whereabouts or activities, which seems odd, as the man was clearly not publicity shy. Maybe he’s changed his name? Gone into witness protection? Been abducted by aliens? To be honest, nothing would surprise me, considering his, well, unique presence in Approximately Panther.

The drunken reporter at work, baby.

“Maybe mini-skirts are simply wide belts?” (Douglas L. Panther)

This half-hour gem of a film, directed by Peter Lamb, takes us on a guided tour of Melbourne’s pop culture scene in 1966. From the discotheques and drag races, to the house parties and radio stations, it’s a fun-filled romp featuring interviews with the likes of a young, very earnest Lynne Randell, Bobby and Laurie, model Jenny Ham, band/venue manager David Flint, and a rather pompous fellow (a poet, apparently) called Adrian Rawlins spouting bollocks about “pop rejuvenation” and how he knows The Rolling Stones.

Lynne Randell chats to Panther about teenagers

Jenny Ham discusses fashion; Panther puffs on a dart

There’s amazing footage of the Running Jumping Standing Still performing for a moving, grooving crowd at legendary discotheque the Thumping Tum, as well as The Loved Ones doing “The Loved One” and Normie Rowe being mobbed at the airport. And then there is Douglas L. Panther.

“There is no such accessory as a hairy chest. More in demand is a combination of masculine beauty with gentlemanly chic-ness and attentiveness to feminine fancy considered effeminate a few years ago.” (Douglas L. Panther)

Nice fringe, Panther.

Usually with a ciggy in his hand and a knowing smirk on his face, young Douglas cuts an unforgettable figure. His longish, brushed-back hair looks like it’s going to spring out of control at any moment, while his half-hearted fringe seems to be wondering why it’s there. When he’s not banging away on his typewriter, he’s discussing “wenches’ expectations” and the erotic motivations behind fashion. He’s hilariously pretentious and strangely endearing at the same time.

But why take my word for it, when you can watch the doco in all its glory here?

Related post:
Melbourne song of the month: 'The Loved One'/The Loved Ones (May 1966)

Bruno Benini

As the sweetheart-darlings among you would undoubtedly know, it’s the Virgin Australia Melbourne Fashion Festival this week. To be honest, I don’t consider that great cause for excitement, given the banality of most Aussie fashion these days, but it’s a mighty convenient excuse for today’s post.

After all, if today’s fashion looked anything like this, I’d be fighting my way to the front row by any means possible...

Behold, the genius eye of fashion photographer Bruno Benini (1925-2001)!

Too cool for words. Model Jan Stewart wearing Simona mini-dress for Sportsgirl, 1966. 
Photo: Powerhouse Museum Bruno Benini archive collection

These boots were made for posin'. Unknown model in a Sharene Creations number, 1963.
Photo: Powerhouse Museum Bruno Benini archive collection

Born in a medieval Italian town, Bruno Benini migrated to Melbourne with his family in 1935. After studying science at Melbourne Technical College (now RMIT) and working briefly at the Holden plant in Fisherman’s Bend, he returned to Italy by way of London in the late 1940s. It was during this trip he decided he wanted to be a fashion photographer.

Ahoy! Vida Elekna, Lynn Richmond, Terry Taylor and Gay Vardis at Station Pier, 1962.
Photo: Powerhouse Museum Bruno Benini archive collection

His first studio, established in the mid-50s, was in Cotham Road, Kew. While he was honing his skills, he worked as a male model, learning the finer points of lighting and fashion photography in the process.

Gillian Dickson in grey flannel Sportsgirl suit with four cut outs of model Eric Hoek, 1965
Photo: Powerhouse Museum Bruno Benini archive collection

After Kew, he moved his studio to several locations around the city before settling in McKillop Street. This is where he was based during the 1960s, sharing the space with his wife Hazel, a fashion display artist/stylist and his regular collaborator.

Talk about a dynamic duo: Bruno and Hazel singlehandedly cranked up the fabulosity factor of Melbourne’s fashion scene for many years!

Jan Stewart glamming it up in Stephen Glass evening gown, at the Lido nightclub (Russell St), 1968
Photo: Powerhouse Museum Bruno Benini archive collection

Benini’s photos were primarily black and white, and appeared in publications across the country. He photographed all the top models of the time, from the divine Jan Stewart (girl crush alert!) and Maggie Taberer to Janice Wakeley and Maggi Eckhardt, capturing them in beautiful portraits that simultaneously stand the test of time and encapsulate their time.

Marg Hanna in heart-stoppingly groovy Norma Tullo ensemble, 1969
Photo: Powerhouse Museum Bruno Benini archive collection

Benini’s photos are so much more than mere fashion snaps. They’re works of art, drop-dead gorgeous and super-creative, with a fun-loving streak a mile wide running through them. I love that they often feature recognisable Melbourne locations in them, yet there’s absolutely nothing provincial about them — they are universally swoonworthy.

Where oh where can I find a frock like this? Anne Hamilton in Simona dress for Sportsgirl, Black Rock, 1966. 
Photo: Powerhouse Museum Bruno Benini archive collection

Check out the Powerhouse Museum’s inspiring Bruno Benini photography archive for more photos of his work, spanning the 50s to the 80s.

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Groovy Prue